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    Van Dyck
    Van Dyck
    Van Dyck
    Ebook76 pages47 minutes

    Van Dyck

    By Percy M. Turner

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 15, 2013

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      Book preview

      Van Dyck - Percy M. Turner

      The Project Gutenberg EBook of Van Dyck, by Percy M. Turner

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever.  You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: Van Dyck

      Author: Percy M. Turner

      Release Date: June 20, 2013 [EBook #43001]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK VAN DYCK ***

      Produced by Al Haines

      Plate I.

      MASTERPIECES

      IN COLOUR

      EDITED BY

      T. LEMAN HARE

      VAN DYCK

      PLATE I.—CHARLES I. Frontispiece

      (In the Louvre)

      Certainly the finest portrait of Charles I. in existence. It shows Van Dyck in his most attractive aspect as a painter of the aristocracy. Executed before the marked decline in his technical powers, which marred, from an artistic standpoint, the later pictures of his English period, it yet possesses the dignity and distinction he knew so well how to infuse in portraying the nobility of our country. It is one of the best examples of the artist's powers as a colourist, and as such will bear comparison with the productions of the mighty Venetians.

      Plate I.

      Van Dyck

      BY PERCY M. TURNER

      ILLUSTRATED WITH EIGHT

      REPRODUCTIONS IN COLOUR

      LONDON: T. C. & E. C. JACK

      NEW YORK: FREDERICK A. STOKES CO.

      CONTENTS

      I. The Early Days

      II. The Journey to Italy

      III. The Second Flemish Manner

      IV. Van Dyck in England

      V. Van Dyck's Position in Art

      LIST OF ILLUSTRATIONS

      Plate

      I. Charles I. . . . . . . . . . Frontispiece

                In the Louvre

      II. Charles Louis of Bavaria and his brother

              Robert, afterwards Duke of Cumberland

                In the Louvre

      III. Prince d'Arenberg

                In Lord Spencer's Collection, Althorp

      IV. Portrait of Van Dyck (or The Artist)

                In Lord Spencer's Collection, Althorp

      V. Philippe le Roy, Seigneur de Ravel

                In the Wallace Collection

      VI. Portrait of one of Charles I.'s children

                In the Academy of Fine Arts, Rome

      VII. Portrait of the Artist's Wife

                In the Pinakothek, Munich

      VIII. The Marchese Cattaneo

                In the National Gallery

      I

      THE EARLY DAYS

      No painter has remained more consistently in favour with both artists and the public than Van Dyck. His art marks the highest achievement of Flanders of the seventeenth century. In making this statement the claims of Rubens have not been overlooked, although the latter has been, and probably will always be, considered the head of the Flemish school.

      It is perhaps not too much to say that Van Dyck possessed in a greater measure than Rubens those qualities which go to make a great artist. We can never overlook the seniority of the latter, and to him will always belong the credit of having evolved the style which revolutionised the art of a nation, and there is no doubt that the pupil owed to him much of the knowledge he so well utilised in after-life.

      PLATE II.—CHARLES LOUIS OF BAVARIA AND HIS

      BROTHER ROBERT, AFTERWARDS DUKE OF CUMBERLAND

      (In the Louvre)

      As an example of direct portraiture this picture would be hard to beat. It shows Van Dyck in one of his happiest moods dealing with a subject which peculiarly appealed to him.

      Plate II.

      In comparing those two great men it would be well, at first, to rid ourselves of the confusion which often arises through the application of the terms artist and painter. In relation to painting they are only too often considered synonymous, but a little consideration will show us that a man whose technical abilities are of a high order need not necessarily be a great artist.

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